Judith Mann

Fog 1 – Salix.Fog

Material: willow, wire, fog
Location: Hilden, Germany
Year: 2012

FACTSHEET:

Year : 2012
Material : Wood, Mixed Media, Natural materials, Others, Installation
Style : Land Art, contemporary

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Material: willow, wire, fog Location: Hilden, Germany Year: 2012
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H 180 x B 21 cm 12 cm distance plywood, varnish, acrylic paint The wafer-thin strips hanging loosely on the wall and moving in the current of the air are pendent and emblematic of the fleetingness and immateriality of light. The wooden/plastic strips hang on a nail 5/12 cm in front of the wall. Their number and their distance from each other depends on the spatial conditions. The individual strips are to be hung individually and and/or freely combinable in color and number. FF 6 The strip has the primary colors painted on the back. Where they overlap, secondary colors emerge in the projection onto the wall. Together, they produce a color spectrum that is contained in daylight. _____________________________ H 180 x B 21 cm 12 cm Abstand zur Wand Sperrholz, Lack, Acrylfarbe Die hauchdünnen, locker an der Wand hängenden und sich im Luftstrom bewegenden Streifen sind Pendent und Sinnbild für die Flüchtigket und Immaterialität des Lichtes. Die Holz-/Kunststoffstreifen hängen jeweils an einem Nagel 5/12 cm vor der Wand. Ihre Anzahl und ihr Abstand voneinander hängt von den räumlichen Gegebenheiten ab. Die Streifen sind einzeln hängbar und/oder frei kombinierbar in Farbe und Anzahl. FF 6 Der Streifen hat auf der Rückseite die Primärfarben aufgemalt. Wo sie sich überlappen entstehen in der Projektion auf die Wand Sekundärfarben. Zusammen ergeben sie einen Farbspektrum, welches im Tageslicht enthalten ist. http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&bilder=sculpture&navi=ff&unterkat=ff01-09&kat=b&bild=6#id6 http://www.alexanderlorenz.at/art/sculpture.php?page=sculpture&navi=video&video=2
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The collector’s children recited their own names and the sound waves were recorded and represented in hand blown Murano glass tubes. These are set on iron rods which prevent an old tree from collapsing; representing the youth supporting the older generation. The texture of the glass resembles the bark of the trunk; symbolizing the similarities passed down through family. With the different lights of day the unique red colour appears alive; the work changes as the glass fluctuates from flaming bright to glowing warm or fading into darkness.
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“Oto” and “Togen” have permanently been installed at Sculpture Park Billund, Denmark. My studio is at the foot of a mountain that is full of nature. I wished that there should be some spirit-like presence among the surroundings of plants, insects, bird’s voice and fresh air, the sculptures that took shape from that wish, I named them golems.
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Forests, fields, rivers and the sky: nature’s most important feature is it’s openess. There are no boundaries, we can disappear in it. Even seemingly impenetrable forests or labyrinthical footpaths open their ways to us if we carefully listen to their language. Nature may feel like an impenetrable knot, a place too difficult to understand. It did to me for a long time, as I was born and raised as a city girl. The digital age only added to that feeling of alienation. But breathing the fresh air and hearing the leaves rustle, I envisioned an open knot sculpture, woven as lace with willow. It is open from the top to the bottom , letting the sky in and move through the tube to the earth.
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In the south of Sweden there are still many gravehills of the bronze age and rockcarvings that may be even older. The sun was worshipped, it was depicted as the so called Sun Cross. The landscape is changed nowadays in a functional way, it can be a nature reserve or used for (industrial) farming or tourism. In many places pipelines criss cross countries to supply fuel for our energy needs. I used the graphic quality of these pipelines, popping in and out of the ground, to depict ways of human traces in the landscape. Seen from the center of the otherwise randomly installed pipes the prehistoric sign of the Sun Cross appears, as a reminder of a different view on the earth that we inhabit.
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Installation invites to get deeper into a concept of layer itself. Whether it is an institutional layer, a cultural or social one. The title becomes a reference to a field of layers. It is provocative and manipulative. Practically the installation is made out of four layers: the first one- the space itself, which remained untouched( I didn't move a piece that was left in the room so the broken armchair, the electrical panel, holes in the wall appear ), second one- layer of plaster which gently covers the layer under it in a form of a playground, the third layer- the line that is made of a paint which used for marking the roads for transport and last one- the marks of visitors which in time changes depending on visitors who are leaving their traces on the white paint of floor and walls. Title stops counting those layers after the fourth one, but if we get deeper we can see many more (example - the layer of knowledge which is necessary to read the work, the layer of spacial and general sensitivity, the layer of individual experience and so on)
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This is not a pipe, to paraphrase Magritte, but the sculpture suggests the existence of a pipeline across the river. Pipelines are abundant in our world and even if they disturb the landscape they are eventually accepted as a new kind of nature.
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When thinking we are hardly aware of the environment, we are closed in our mindbubble. When you put your head in this coconut fibre sculpture, the world is dark, soft and lonesome.
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This old villa needed to be connected to the botanical garden that encloses it. I moved the old furniture and it started to flow as a waterfall down into the garden, returning to nature.
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Polarbear 2.0
Everything changes always, but now nature is forced to adapt to unforeseen circumstances. This 'skin' is put on a frame as the Inuit do traditionally after their bear hunt.This feathered polarbear skin raises questions about tradition versus modernity, change and loss in the natural world.
Karin van der Molen, Natural materials, Textile
Vanitas
Vanitas objects are an old symbolic in the arts of the inevitability of death and the transience and vanity of earthly achievements and pleasures. This feathered skull is fixed to a transparant boat, ready to cross the waters, may also be seen as a tribute to the beauty of life.
Karin van der Molen, Natural materials
The source
Fragments of china porcelain form this funnel into Yu Lei mountain, an artpiece along the historic tea trade trail. At first sight it can be read as a tribute to the ancient culture, that is still feeding our culture today. Patterns of blue and white porcelain in the sculpture tell us about yin and yang balance, values that are still able to inspire us beyond the challenges of modern life. At closer look you will find also pieces of porcelain coming from European countries. As happens in this sculpture, our cultures get closer and eventually we are influenced and inspired by one another. At the bottom of the funnel there is the drain, to let the rainwater out of the sculpture. The drain pipe also tells us to cherish our fundaments, and not let them be washed away.
Karin van der Molen, Ceramics, Concrete
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